View
View 2
View on wall Fragments on floor Micro Macro
Fragments 2023, 220x500x4 cm. silk and hand cut plywood
View 3
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View
View Whispering Cosmos
View in back room, from left Out There in Here #2. 2022
Fragments of Life, Fragments of the Univers #3 2023
Back room, Fragments of Life, Fragments of the Univers #2, 2023
100 cm. Ø silk and laser cut plywood
Out There in Here #2 2022, 300x86x6 cm.
silk and laser cut plywood
Fragments of Life, Fragments of the Univers #3 2023
80 cm Ø silk and laser cut plywood
Fragments of Life, Fragments of the Univers #1 2023 180 cm.ø
Silk, laser cut plywood and black acrylic paint on wall
Whispering Cosmos 2023, 240 cm Ø synthetic chiffon and plywood
Whispering Cosmos close up
Fragments close up 107x43x4 cm silk and hand cut plywood
Cosmos 2023, 88x38x6 cm. Iron and hairextension
Cosmos close up
Expansion 2023, 220x60x3 cm. Velvet and laser cut plywood
Perception #4 2023 52x33x6,5 cm. Iron and hairextension.
Micro Macro 2023, from 56 cm. Ø - 18 cm Ø (7 pcs)
Whispering Cosmos
A solo exhibition by Louise Sparre
KH7artspace
Carbon, oxygen, nitrogen, hydrogen, sulfur and phosphorus. Everything we know is built around these six elements. Everything is made up of matter, and matter consists of atoms.You and I are made of the same components as the cherry blossoms around the world and the little bird I can hear flying around out there because its song penetrates both windows and bricks as I drink coffee and read about a team of astronomers who for recently measured the largest energy discharge since the Big Bang, the physical event believed to have led to the creation of the universe approx. 13.8 billion years ago.
The focal point of Whispering Cosmos by Louise Sparre is biochemical and points to the connection of everything - from the smallest plant shoot to the largest galaxy. With her solo exhibition, Sparre wants to draw our attention to the fact that the building blocks of humans, animals, plants and insects consist of the same elements that are found in the stars, planets and galaxies.
For Whispering Cosmos, Sparre has processed and assembled materials such as metal, silk, hair, silicone, concrete and recycled wood and created a series of diverse and contradictory works that, on the one hand, emphasize the solid architecture of KH7, because the artistic approach is minimalistic and tight, and on the other hand, it contrasts with the raw and industrial space, because the works are delicate, tactile and sensuous, but are not afraid to take up space and fill the space, indeed, almost outdo it with a strong feminine energy. Sparre uses the intertwining of the different materials and the dynamics between the organic and synthetic, the rough and the soft, the smooth and matte, the dark and the light to show the complexity of living things in terms of form and at the same time incomprehensible simplicity.
The power of movement is the overarching theme and the unifying grip of the exhibition, which is expressed in the momentum that is in the execution of the works, the form they are given and the way they are arranged on the floor and on the walls as in a choreography. Sparre sees motion as a life-giving flow, as a cell multiplying from 1 to 100 trillion, a star exploding with enormous force, or as the expansion of the universe accelerating in the known and unknown. This is illustrated in the work with the same title as the exhibition, Whispering Cosmos, which with its appearance can be said to balance between a cell and a black hole, a pupil, an expansion or a contracting woe. In many ways similar to the world and the universe as we know them but have not finished exploring, they both came into being through expansion and expansion.
You can say that Sparre's art has a poetic, philosophical and activist agenda. Her works show us that the human body is not bounded, but moves completely out into space, just as space finds its way into us, we are born into space and inhabited by stardust. That our bodies belong to the universe seems to permeate the entire exhibition.
Whispering Cosmos is supported by the The Danish Art Foundation and Kulturudviklingspuljen Aarhus.
Text by Mille Højerslev
Photo by Jacob Friis Holm Nielsen
supported by
